Can't see the forest for the trees?  If a tree falls in the forest, and no one is around to hear it, does it make a sound?

In this iteration of the forest series of works, implied sound silently resonates between classical echoes (Schuman or Mahler) and the psychotropic beat of EDM, trance, psytrance, techno, punk and noise music genres. Synesthesia, in the arts as opposed to neuroscience, is more about the simultaneous perception of multiple stimuli, often via more than one sense or pathway.

What is the sound of an artwork we are looking at? As we, and science, start to question a fixed physical reality independent of the observer, consciousness, and experience...the associative, projective, and codependent nature of reality comes to the fore as experience (subject and substance).

Can we really separate the music the artist was listening to while making art, from the art that was made while listening to this music? In this era of sound tracks, might an artwork evoke a score of its own? Might the physical act of making, laying down brush work for example, be infused with a beat or melody? The word synesthesia comes from the ancient greek: "together" and "sensations".

In 1968, day-glow and fluorescents merged with the cultural landscape of psychedelia. The particulate from this landscape, later reconfigured itself into punk, rave, trance, and other genres. These musical genres were interested in intensified sensory perception, states of altered or heightened mood or consciousness, utopian and fantastical possibilities and immersive experience. Its visual parallels too, favor the hypnotic, hyper symbolic, immersive and ultra sensory. Existential, political and cosmic themes abound.

Just as trance music layers atmospheric melodies with foreshadowed buildup and release, this installation's lighting loops move from incandescent to uv, creating carefully timed color transitions to hypnotic effect.

"Psychedelic trance" branches hang from the ceiling and dangle in front of classical illusionism. The classical piano parts, ragged and worn, are layered with punctuated, rhizomatic, syncopated notes of fluorescent color.

In A Thousand Plateus, Gille Deleuze and Felix Guitar, oppose an arborescent (hierarchical, dualistic, categorical, linear, tree-like) knowledge with a rhizomatic, planar, nomadically growing thought that resists chronology and has multiple points of entry, exit and interpretation.